'Comparison of A Doll’s House and A Streetcar Named Desire Essay\r'

' lively #14: â€Å"Important quotations in plays ar multi-dimensional. talk about to what extent this statement is true of serious char enactmenters in plays you have studied and comment on the techniques of portraiture employed by the dramatist.”\r\nMultidimensional acknowledgments can withal be defined as high-voltage or constantly changing and begining characters. These dynamic characters are not simply valuable to a play, notwithstanding are arguably the most important characters because what the playwright intends to communicate to his or her audience is communicated through the changing emotions and behaviors of these characters.\r\nAdditionally, playwrights use a variety of techniques to highlight the changes an important character may go through. The talks, staging and exhibit directions, setting, music, lighting, and even habits can all be utilise to highlight a multifarious character’s emotional and physical changes. In A wench’s Hous e, by Henrik Ibsen, and A Streetcar Named Desire, by Tennessee Williams, the playwrights primarily use get ups, which parallel the emotional and behavioural changes of important dynamic characters, and contrast in negotiation to amplify developments and changes in the characters’ relationships and behavior.\r\nIbsen’s choice of clothing design poses Nora as a dynamic character in A Doll’s House. Ibsen changes Nora’s fig out to parallel her behavioral and emotional changes in the play. The â€Å"Neapolitan fisher-girl” apparel, for lawsuit, represents Nora’s secrets and their tightent on her self-reliance (Ibsen 29). Therefore, Nora’s want to â€Å"tear [the masquerade habilitate] into a hundred thousand pieces” represents her ordain to be discharge of her lies and to take off of the clothe she puts on for Helmer (Ibsen 28). The costume facilitates this need throughout the second act of play. When Nora practices t he tarantella dance, she dances wildly and â€Å"her hair comes down and falls oer her shoulders” (Ibsen 47).\r\nWild and free hair has connotations of independence and liberation. Therefore, the costume experiences to show the audience her will to free herself from the mask she puts on for Helmer. However, she remains in the shave at this point in the play meaning that she is fluent restricted by the disguise she wears for Helmer’s satisfaction. Again, the dress highlights Nora’s development when it is removed in wreak III before Nora gathers the courage to tell Helmer she must leave him to gain her independence. Nora’s masquerade bollock costume conveys how Nora’s lies and mask of happiness restrain her freedom and helps to illustrate her eventual escape from them. Therefore, the costume design amplifies the characteristics that make Nora a dynamic character.\r\nWilliams likewise uses his costume designs to characterize his dynamic charac ters in A Streetcar Named Desire. However, or else than bear oning a specific costume with a feeling, he associates a general quality of costume with specific emotions and actions. For example, the lavish costuming of Blanche represents the extent of her inclination for, and delusion of, an degenerate animation. As the play opens and Blanche enters, her way is described as â€Å"incongruous to [the] setting” (Williams 15). She is introduced beness dressed as if she believes she should be somewhere and mortal else. Furthermore, her beauty from the â€Å"white suit with a flossy bodice, necklace and earrings of pearl” is described as delicate and raw(a) to light (Williams 15).\r\nThis description of Blanche suggests that her rich and royal appearance is purely superficial and does not represent the globe of her look. This connection mingled with costume design and Blanche’s fabricated reality is continued throughout the play. before beginning to fl irt with the young paper son in Scene Five, Blanche â€Å"takes a large, gossamer masturbate from the trunk and drapes it about her shoulders”, and then begins to pretend he is a young Prince and later makes Mitch bow to her (Williams 84).\r\nThe playwright, Tennessee Williams, connects Blanche’s affluent adornment with her delusions of wealth and importance that develop and catch stronger as the play progresses. In the final scene, Blanche’s illusions blend almost entirely with her reality as she asks Stella to gather a number of elaborate accessories, including a cool yellow silk boucle and â€Å"a silver and turquoise pin in the shape of a sea horse”, and dresses herself in a dress and jacket of a color that Madonna once wore (Williams 132/135). Williams uses this costume to amplify the absurdity of Blanche’s illusion of spending her life on the sea with a millionaire. Therefore, Blanche’s costume choices in A Streetcar Named Desire co nnect to her developing insanity, which makes her a complex and dynamic character.\r\nIn A Doll’s House, Ibsen also utilizes emphasis in dialogue, specifically the latent hostility amidst Nora’s inward and outward typeface of feelings surrounding worth, to portray Nora as a dynamic character. The playwright initial creates a contradiction between her knowledgeable and outside feelings, only to eventually change her apparent feeling to match her true feelings. In the first devil acts of the play, Nora’s outward expression of a womanhood’s worth revolves around being a substantially wife and mother by aiming to enthrall Helmer, her husband. However, her inward feelings portray the opposite. Nora inwardly believes that worth involves being true to herself. Nora is outwardly wormy to her husband by allowing herself to be called by possessive pet names, such as his â€Å"little spendthrift”, his â€Å"squirrel”, or his â€Å"extr avagant little person” (Ibsen 2-3).\r\nFurthermore, even Nora uses these labels for herself during the first 2 acts. These names put Nora in a submissive position because they define Nora as a obstinacy of Helmer’s. Therefore, when Nora labels herself a skylark or squirrel, she outwardly submits to the will of her husband, proving her external idea of worth revolves around his happiness. However, whenever Nora yields to Helmer, in that location are undertones of derision within the dialogue depicted both by the stage directions and the writing. When Nora first calls herself Helmer’s skylark and squirrel, she does so while â€Å"smiling quietly and happily”, as if she aims to manipulate him with her words (Ibsen 4). This example of irony mixed with manipulation illustrates the contradiction between what Nora outwardly expresses and what she internally believes.\r\nNora’s sarcasm is also present directly in her dialogue with Helmer. In the conc lusion of the first act, Nora asks Helmer to â€Å"take [her] in strive and decide” how she should attend the masquerade ball (Ibsen 25). The sarcasm she speaks these lines with is evident when she utilizes hyperboles to appeal to Helmer’s ego, such as telling him â€Å"no one has such good taste” and that she â€Å"can’t get on a bit without” his help (Ibsen 25). Therefore, Nora’s misinform submission to Helmer suggests a dichotomy between her internal ideas of worth and her actions. Yet, as the play develops, Nora’s actions begin to match her interpretation of value. She begins to everywheretly become a subject of her life, rather than the subject of her husband’s.\r\nIn the final pages of Act III, Nora discards the view she externally pictured in the first acts of A Doll’s House by explicitly rejecting Helmer’s assumption that â€Å"before all else, [she is] a wife and a mother” (Ibsen 66). She expl ains to Helmer that she believes that â€Å"before all else [she] is a liable human being… [who] must think over things for [herself] and get to understand them” (Ibsen 66). This rejection of blind obedience and argument of autonomy supports the claim that Nora’s outward expression developed over the course of the final act to match her opinion of worthiness. Because Nora’s expression of deservingness changed over the course of the play, she is considered a dynamic, or multifaceted character. Therefore, Ibsen’s use of dialogue in A Doll’s House is instrumental in portraying Nora as an important and multidimensional character.\r\nTennessee Williams also uses tension in dialogue within his play, A Streetcar Named Desire, to portray his significant characters as multidimensional. However, rather than creating tension by using contradiction to develop a single character’s dialogue, Williams creates tension by contrasting the dialogue of Stanley and Blanche. This distinction between the two characters, and the way they communicate in the play, causes behavioral changes suggesting that dialogue is responsible for dynamic transformations in the characters’ actions. Blanche’s speech is educated and full of literary illusions. She uses a reference to the gothic poet Edgar Allen Poe to describe her sister’s life and situation by calling her part â€Å"the ghoul-haunted woodland of Weir” (Williams 20).\r\nThis complexity present in Blanche’s dialogue portrays her as a example of the old, spicy South. In contrast with Blanche’s more ripe way of speaking, Stanley uses simple societal base metaphors and bromide clich�s in his dialogue. Rather than using a literary based metaphor for Blanche, Stanley uses one based on politics. Stanley describes her fame in Laurel â€Å"as if she [were] the hot seat of the United States, only she is not respected by any party† (Williams 99).\r\nAdditionally, the clich�s Stanley uses in his speech, such as â€Å"no, siree, bob”, â€Å"boy, oh, boy”, or â€Å"the trip the light fantastic was all up” portrays Stanley as the down-to-earth representation of the New South (Williams 100-101). The contrast between the dialogue of the two characters and the connection it has with the social group they localize with highlights their dynamic characteristics by emphasizing Blanche’s attack and ultimate failure to integrate herself into the less soft and educated New Orleans. Therefore, the playwright’s motility to contrast the dialogues of Blanche and Stanley facilitates Blanche’s representation as a multifaceted and changing character in A Streetcar Named Desire.\r\nAnalyzing how a playwright portrays his or her dynamic characters gives insight into what the playwright intends to say through their development. For example, Henrik Ibsen uses a single costume to connect the audience with Nora’s progression into an autonomous woman in company to focus the audience’s attention on a single facet of Nora’s life and desires, while Williams uses many costumes with varying points of lavishness, to highlight the degree to which Blanche blends reality with fantasy.\r\nFurthermore, Ibsen uses tension in dialogue of a single character to keep the audience’s focus on Nora, while Williams contrasts the speech of two characters to highlight the contrast between two unlike social worlds, the new and old South. Therefore, the most important characters in a play are perpetually multidimensional characters because most of a playwright’s commentary is included in the development of these characters and analyzing the techniques a playwright employs to distinguish a dynamic character helps to convey meaning.\r\nBibliography\r\nIbsen, Henrik. A Doll’s House. Print.\r\nWilliams, Tennessee. A Streetcar Named Desire. New York: Signet, 1975. Print.\r\n'